Charlie Harding

I want to start from the top, Get So Hot.

It begins in a state, I feel like, of disorientation where we're in the summer heat in L.A., sun beating down on concrete, no palm trees to block out the sun.

It's a dance song, but at the very beginning, we can't even identify a downbeat.

So we're like kind of lost.

Eventually, four to the floor, drum beat comes in.

It makes me think of like a Donna Summer kind of song.

It's not like verse, chorus, verse, chorus.

It's a pure dance song.

Could you use this as an example of just how did this happen as a collaboration and how did you decide to put this out first as the thing that we first hear?

I feel like it's really appropriate then maybe to go to the title track, which comes right after that, Dancing on the Wall.

Yeah.

Because I feel like it is a big dance production, but something is wrong.

Something is not right.

If I'm not crying on the dance floor, something's not right.

Sure.

I don't know if it's supposed to be a 90 degree turn from Lionel Richie's Dancing on the Ceiling.

I think you really established this pristine 80s pop production.

I was wondering, maybe, Jo, if you could start with how do you go about, in your collaboration, deciding on what the sound and the vibe of the thing is going to be?

the most attracted to and i i mean it's funny that i don't know if i feel the record is bright in a way but i feel like we were right it's like a lot of people do 80s things but they just like put on a gated snare yeah and they're like oh it's 80s and there's like a juno and you're like it's 80s like no the 80s is like yeah really like almost blaringly bright totally and you've got like slap bass you've got like things that are in your face making george unapologetic

So there's a lot of vision that I'm hearing from you all in that you wanted to make something that sounded consistent across the board.